N\u00ebn k\u00ebt\u00eb titull bashkohen qoft\u00eb versioni televiziv i vitit 1977, ashtu edhe versioni teatral q\u00eb u nis n\u00eb turne n\u00eb 1980 n\u00eb teatrot lirik\u00eb t\u00eb operave (nga t\u00eb cil\u00ebt \u00ebsht\u00eb marr\u00eb regjistrimi p\u00ebr nj\u00eb prodhim diskografik t\u00eb t\u00eb nj\u00ebjtit vit) Tashm\u00eb \u00ebsht\u00eb e qart\u00eb se nga titulli i Spektakli – i koncertit t\u00eb m\u00ebparsh\u00ebm t\u00eb Majakovskit n\u00eb k\u00ebt\u00eb shfaqje t\u00eb re Bene hapet n\u00eb nj\u00eb horizont m\u00eb i gjer\u00eb i poezis\u00eb ruse. P\u00ebr k\u00ebt\u00eb do t\u00eb jet\u00eb e nevojshme t\u00eb p\u00ebrqendrohemi n\u00eb figurat e k\u00ebtyre poet\u00ebve dhe n\u00eb historin\u00eb kulturore t\u00eb Rusis\u00eb s\u00eb koh\u00ebs s\u00eb tyre; dhe, meqen\u00ebse p\u00ebrkthimet n\u00eb italisht t\u00eb poezive t\u00eb p\u00ebrdorura nga Bene jan\u00eb, kryesisht, nga Ripellino, do t\u00eb jet\u00eb mbi t\u00eb gjitha p\u00ebr studimet e tij q\u00eb do t’u referohemi. Nga realizmi n\u00eb Revolucionin e Tetorit, duke kaluar n\u00ebp\u00ebr simboliz\u00ebmin dhe Aleks\u00e0ndr Aleks\u00e0ndrovic Blok.<\/p>\n
Blok lindi n\u00eb Petersburg n\u00eb 1880. Babai i tij \u00ebsht\u00eb nj\u00eb muzikant p\u00ebr piano dhe ligj\u00ebron t\u00eb Drejt\u00ebn Publike n\u00eb Universitetin e Varshav\u00ebs, n\u00ebna e tij \u00ebsht\u00eb vajza e botanistit Bek\u00e8tov, Rektori i Universitetit t\u00eb Petersburgut. Prind\u00ebrit e tij u ndan\u00eb shpejt dhe ai u rrit n\u00ebn tutel\u00ebn e familjes s\u00eb n\u00ebn\u00ebs s\u00eb tij n\u00eb nj\u00eb mjedis stimulues kulturor, i rrethuar nga gjyshja, hallat dhe n\u00ebna e tij, i cili p\u00ebrktheu let\u00ebrsi dhe poezi nga gjuh\u00eb t\u00eb ndryshme t\u00eb huaja, kompozoi vargje dhe e donte muzik\u00ebn. K\u00ebshtu q\u00eb nga nj\u00eb mosh\u00eb e re zgjohet dashuria e tij p\u00ebr let\u00ebrsin\u00eb tek ai. S\u00eb bashku me familjen e tij ai frekuenton pasurit\u00eb verore t\u00eb Mendel\u00e8ev ku, me vajz\u00ebn e kimistit t\u00eb madh, Ljub\u00f2v ‘Dm\u00ectrievna, organizon shfaqje teatrale dhe ve\u00e7an\u00ebrisht shfaqje t\u00eb Shekspirit. N\u00eb nj\u00ebzet vitet e para t\u00eb tij ai mori frym\u00eb n\u00eb nj\u00eb atmosfer\u00eb t\u00eb konservatorizmit tradicional n\u00ebn kujdesin e gjyshit t\u00eb tij-rektor, duke injoruar rrymat moderne artistike.<\/p>\n
1901 \u00ebsht\u00eb nj\u00eb vit vendimtar p\u00ebr formimin e tij, n\u00eb t\u00eb v\u00ebrtet\u00eb ai njeh poemat dhe doktrinat e poetit dhe filozofit Solov’ev. “Nj\u00eb personazh i \u00e7uditsh\u00ebm, gjithnj\u00eb i l\u00ebkundsh\u00ebm midis mistik\u00ebs dhe burlesk\u00ebs, Soloviev pohone, duke shkuar deri te konceptet Platonike, se realiteti i tok\u00ebs \u00ebsht\u00eb vet\u00ebm nj\u00eb t\u00ebr\u00ebsi fenomenesh ephemerale, nj\u00eb reflektim opak dhe inert, vet\u00ebm nj\u00eb paraqitje e shkurt\u00ebr e bot\u00ebs s\u00eb ideve shum\u00ebvje\u00e7are. Ai ishte i sigurt se Shpirti i Universit, Nusja e P\u00ebrjetshme, do t\u00eb mish\u00ebrohej n\u00eb shpengimin e njer\u00ebzimi nga m\u00ebkati. Dhe duke e afruar artin n\u00eb liturgji, ai e konsideronte poetin nj\u00eb urgist. Poezia e Solov’evit u b\u00eb nj\u00eb vul\u00eb besimi p\u00ebr gjenerat\u00ebn e Blokut.<\/p>\n
“Solov’ev \u00ebsht\u00eb pararend\u00ebsi i simbolizmit rus, rryma q\u00eb hodhi hapat e tij t\u00eb para n\u00eb dekad\u00ebn e fundit t\u00eb shekullit XIX, e shtrydhur mes l\u00ebkundjeve t\u00eb fundit t\u00eb nj\u00eb rendi t\u00eb vjet\u00ebr, q\u00eb po vdes sa social aq edhe kulturor. Simbolizmi \u00ebsht\u00eb af\u00ebr dekadentizmit n\u00eb preferenc\u00ebn e tij p\u00ebr t\u00eb pikturuar zymt\u00ebsin\u00eb e jet\u00ebs ruse, pasive, t\u00eb lodhshme, pesimiste, n\u00eb t\u00eb cil\u00ebn dashuria b\u00ebhet solipsiz\u00ebm dhe e vetmja falje e mundshme \u00ebsht\u00eb ajo e vdekjes. Me tendenc\u00eb “drejt sfer\u00ebs s\u00eb ideve t\u00eb p\u00ebrjetshme, drejt nj\u00eb realiteti m\u00eb t\u00eb lart\u00eb, nga i cili realiteti yn\u00eb i duksh\u00ebm \u00ebsht\u00eb vet\u00ebm reflektimi, simulacrum i deformuar”, simbolist\u00ebt interpretojn\u00eb poezin\u00eb “si lajme t\u00eb bot\u00ebve t\u00eb tjera, si nj\u00eb kult ezoterik, si nj\u00eb regjist\u00ebr formulash magjike.<\/p>\n
Merit\u00eb e padiskutueshme e k\u00ebtij trendi artistik \u00ebsht\u00eb aft\u00ebsia p\u00ebr t\u00eb reaguar ndaj diktateve t\u00eb ndenjura t\u00eb nj\u00eb realizmi t\u00eb ngath\u00ebt dhe klaustrofobik, aq k\u00ebmb\u00ebngul\u00ebs dhe t\u00eb duksh\u00ebm n\u00eb teat\u00ebr. Duhet mbajtur mend se n\u00eb t\u00eb nj\u00ebjt\u00ebn periudh\u00eb kohe filloi p\u00ebrvoja artistike e Stanislavkij dhe Nemir\u00f2vic-D\u00e0ncenko, n\u00eb mesin e magjepsjes p\u00ebr militarizimin skenik t\u00eb Meiningers dhe duke luftuar me lirizmin e tendosur t\u00eb Chekhovit t\u00eb Chekhov. Para se t\u00eb provonin shtigje t\u00eb tjera, baballar\u00ebt e Teatrit t\u00eb Artit gjithashtu ngec\u00ebn n\u00eb fundin e vdekjes s\u00eb nj\u00eb realizmi t\u00eb eg\u00ebr, duke synuar n\u00eb m\u00ebnyr\u00eb maniake t\u00eb sillnin n\u00eb sken\u00eb t\u00eb gjitha llojet e xhinglave butaforike, rroba, bizhuteri dhe en\u00eb kuzhine, dhe vegla, stola dhe karrige, bulkthe q\u00eb k\u00ebndojn\u00eb, or\u00eb dhe qyqe, gjethi i shp\u00ebrndar\u00eb, vet\u00ebm \u00e7erek i kaut mungon nga Antoine’s Th\u00e9atre Libre: besohet e v\u00ebrteta n\u00eb sken\u00eb mund t\u00eb shfaqet vet\u00ebm n\u00ebse objektet dhe zhurmat e trillimeve skenike jan\u00eb t\u00eb v\u00ebrteta; dhe ka edhe m\u00eb shum\u00eb, aktor\u00ebt pritet t\u00eb flasin dhe l\u00ebvizin, si dhe n\u00eb jet\u00ebn e p\u00ebrditshme, duke shkuar t\u00eb rimarrin veten brenda tyre, n\u00ebse \u00ebsht\u00eb e nevojshme, kujtime t\u00eb paqarta t\u00eb emocioneve t\u00eb harruara ose t\u00eb humbura p\u00ebr tu kontekstualizuar n\u00eb t\u00eb tashmen.<\/p>\n
Me shfaqjen e vargjeve t\u00eb para simbolistike, krijohen kushtet p\u00ebr nj\u00eb \u00e7lirim nga simptomat m\u00eb t\u00eb k\u00ebqija t\u00eb pseudo-reales dhe p\u00ebr nj\u00eb kthim n\u00eb fuqin\u00eb krijuese t\u00eb \u00ebndrrave dhe fantazive, n\u00eb k\u00ebrkim t\u00eb mjeteve t\u00eb reja t\u00eb shprehjes, duke rivler\u00ebsuar teknik\u00ebn dhe “zanatin” \u201dE poetit, duke rritur ting\u00ebllim\u00ebn e vargut n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb zhyt imazhet dhe korniz\u00ebn logjike n\u00eb likuiditetin e nj\u00eb fluksi muzikor, madje duke humbur linjat dhe konturet e tij. Duhet t\u00eb dallohen dy tendenca t\u00eb simbolizmit rus: e para \u00ebsht\u00eb thjesht estetike dhe synon t\u00eb fitoj\u00eb nj\u00eb rol n\u00eb kontekstin kulturor evropian; e dyta (n\u00eb t\u00eb cil\u00ebn gjejm\u00eb edhe Blokun) do t\u00eb d\u00ebshironte t\u2019i n\u00ebnshtrohej estetik\u00ebs s\u00eb teologjis\u00eb, duke i dh\u00ebn\u00eb poetit funksion demiurgjik, prift\u00ebror. N\u00eb k\u00ebt\u00eb prirje t\u00eb dyt\u00eb, sugjerohet nj\u00eb shkall\u00eb m\u00eb e madhe e rraskapitjes drejt kultur\u00ebs borgjeze, zvarritet, n\u00ebnvizohet nj\u00eb nevoj\u00eb e madhe besimi dhe nj\u00eb mistik\u00eb e ngurt\u00eb manifestohet se \u00ebsht\u00eb gjithnj\u00eb buz\u00eb t\u00eb ironis\u00eb metafizike.<\/p>\n
Pothuajse t\u00eb gjitha -izmat jan\u00eb frut i nj\u00eb histori\u00e7izimi kritik q\u00eb vendoset a posteriori n\u00eb fenomene specifike, me nj\u00eb pamje t\u00eb p\u00ebrgjithshme q\u00eb synon t\u00eb ndaj\u00eb linjat dhe tendencat e tyre kryesore, n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb leht\u00ebsoj\u00eb leximin e tyre. Duke z\u00ebn\u00eb vend n\u00eb k\u00ebt\u00eb reduktim, le t\u00eb kthehemi te Bloku. Ai hyn n\u00eb hiret e nj\u00eb rrethi t\u00eb vog\u00ebl q\u00eb e quan veten “Argonauts” m\u00ebsimdh\u00ebn\u00ebs dhe predikues” i doktrin\u00ebs” solov’eviana. N\u00eb grahmat e nj\u00eb lloj l\u00ebkundjeje mistike, Argonaut\u00ebt paraqesin imunitetin e nj\u00eb trazire katastrofike t\u00eb bot\u00ebs dhe presin, s\u00eb bashku me t\u00eb, mish\u00ebrimin e Femr\u00ebs s\u00eb P\u00ebrjetshme, Sh\u00eblbuesin e m\u00ebkateve. Tani, ndodh q\u00eb Mendel\u00e8eva e Ljub\u00f2v-s\u00eb identifikohet me Nusen e P\u00ebrjetshme dhe rreth Blokut (i cili do t\u00eb martohet me t\u00eb n\u00eb vitin 1903) shfaqet nj\u00eb lloj kulti.<\/p>\n
N\u00eb nj\u00eb kryq\u00ebzim t\u00eb ekzaltimeve mesianike dhe p\u00ebrmbysjeve t\u00eb papritura ironike dhe autoparodike, p\u00ebrcaktohet nj\u00eb klim\u00eb q\u00eb Bloku e percepton gjithnj\u00eb e m\u00eb shum\u00eb si t\u00eb lodhshme dhe her\u00eb-her\u00eb shqet\u00ebsuese. Por Petersburgu duke u mbushur me dhoma t\u00eb jetes\u00ebs me sall\u00eb pritjeje, nga m\u00eb t\u00eb shquarat prej t\u00eb cilave jan\u00eb ato t\u00eb Zinaida Gippus dhe Vj\u00e0ceslav Ivanov, dhe Bloku fillon t’i frekuentoj\u00eb ato; i hutuar “si nj\u00eb zot n\u00eb nj\u00eb lupanar” – sipas vet\u00eb Ivanovit – ai deklaron vargjet e tij. “Dal\u00ebngadal\u00eb, ai iu afrua nj\u00eb tryeze me qirinj, shikoi p\u00ebrreth me sy guri dhe me p\u00ebrshtypje veten e tij, derisa heshtja t\u00eb arrinte munges\u00ebn e tingujve. Dhe sulmoi, duke e mbajtur vargun me aft\u00ebsi torturuese dhe duke u ngadal\u00ebsuar mezi n\u00eb vjersha. Ai i magjepsur me diktacionin e tij, dhe kur mbaroi nj\u00eb lirik\u00eb, pa ndryshuar z\u00ebrin, gjithmon\u00eb dukej se k\u00ebnaq\u00ebsia mbaroi shum\u00eb shpejt dhe prap\u00eb duhej t\u00eb d\u00ebgjohej”.<\/p>\n
1905 – sa sh\u00ebnon nj\u00eb pik\u00eb kthese radikale n\u00eb poezin\u00eb e tij, si dhe n\u00eb jet\u00ebn e tij. Nj\u00eb distanc\u00eb e sh\u00ebnuar fillon t\u00eb marr\u00eb form\u00eb n\u00eb t\u00eb, jo vet\u00ebm nga Argonaut\u00ebt, por edhe nga klubet e salloneve t\u00eb vet\u00eb let\u00ebrsive, t\u00eb mbushura me zili dhe thashetheme t\u00eb fshehura; p\u00ebr m\u00eb tep\u00ebr, p\u00ebrpjekja e d\u00ebshtuar p\u00ebr t’u rebeluar kund\u00ebr regjimit carist duket se e kujton at\u00eb n\u00eb nj\u00eb perspektiv\u00eb t\u00eb re p\u00ebr \u00e7\u00ebshtjet njer\u00ebzore, e cila p\u00ebrqendrohet n\u00eb “flluskat e tok\u00ebs”, t\u00eb populluara nga demon\u00ebt e k\u00ebnet\u00ebs dhe krijesa t\u00eb \u00e7uditshme q\u00eb mbledhin demonologjin\u00eb e tij imagjinare.<\/p>\n
Nga qielli eterik i Zonj\u00ebs s\u00eb Bukur dhe nga reflektimet e paqarta t\u00eb nj\u00eb realiteti tjet\u00ebr t\u00eb bot\u00ebs, nj\u00eb gum\u00ebzhitje e maskave t\u00eb \u00e7uditsh\u00ebm hap rrug\u00ebn, duke pushtuar skenat e saj duke kakarisur dhe sp\u00ebrkatur me l\u00ebng boronice, hijet me skica t\u00eb qarta dhe t\u00eb p\u00ebrcaktuara, t\u00eb l\u00ebkundura midis “imazheve klorotike t\u00eb Laforgue \u201d, e gdhendur n\u00eb ethet e ironis\u00eb dhe lot\u00ebt e pashlyesh\u00ebm t\u00eb pikturuar n\u00eb fytyr\u00ebn e Pierrot, simbol i nj\u00eb ankthi t\u00eb pash\u00ebruesh\u00ebm. “Misteri shk\u00eblqen n\u00eb harlekuinin, n\u00eb nj\u00eb loj\u00eb t\u00eb vog\u00ebl delirante t\u00eb mashtruesve dhe fantazmave t\u00eb ngathta”: \u00ebsht\u00eb Balagancik, Balagancik, i akrobat\u00ebve.<\/p>\n
Kjo komedi-kalembour \u00ebsht\u00eb tani nj\u00eb gur themeli i atij rinovimi t\u00eb jasht\u00ebzakonsh\u00ebm q\u00eb ka kaluar kultur\u00ebn ruse n\u00eb sezonin e saj m\u00eb t\u00eb frytsh\u00ebm dhe t\u00eb frytsh\u00ebm t\u00eb shekullit XX. Nuk \u00ebsht\u00eb vet\u00ebm p\u00ebr r\u00ebnd\u00ebsin\u00eb e tij letrare, por n\u00eb thelb sepse sh\u00ebnon nj\u00eb lidhje t\u00eb jasht\u00ebzakonshme midis poezis\u00eb dhe teatrit. Skena e tij e par\u00eb – 30 dhjetor 1906 – \u00ebsht\u00eb vep\u00ebr e nj\u00eb partneriteti artistik midis emrave t\u00eb shk\u00eblqyer nga mjedisi teatral; teatri n\u00eb t\u00eb cilin prezantohet \u00ebsht\u00eb ai i Vera Feodor\u00f2vna Kommissarz\u00e9vskaja, aktorja e zbeht\u00eb me sy t\u00eb fiksuar, t\u00eb thell\u00eb dhe magnetik\u00eb si ato t\u00eb nj\u00eb zogu t\u00eb nat\u00ebs, i aft\u00eb t\u00eb orientohet n\u00eb err\u00ebsir\u00ebn e nj\u00eb nate dekadente, dhe me nj\u00eb z\u00eb harmonik si\u00e7 jan\u00eb ngjyrat n\u00eb distanca e dritave veriore, t\u00eb afta p\u00ebr t\u00eb k\u00ebnduar shkrepjet e sh\u00ebnimeve simboliste, dhe gjithashtu t\u00eb afta p\u00ebr t\u00eb shp\u00ebrthyer pasionet vullkanike; n\u00eb pun\u00ebn e tij gjyqsore poeti-muzikant Kuzm\u00ecn, skenografi Sapun\u00f2v dhe paprekshm\u00ebria e nj\u00eb prej mjeshtrave m\u00eb t\u00eb m\u00ebdhenj t\u00eb teatrit t\u00eb t\u00eb gjitha koh\u00ebrave: Vs\u00e8volod Em\u00eclevic Mejerch\u00f2l. P\u00ebrve\u00e7 regjis\u00eb, mjeshtri vesh mask\u00ebn e l\u00ebkur\u00ebs njer\u00ebzore t\u00eb poetit-protagonist Pierrot.<\/p>\n
Si Treplev n\u00eb “Il Gabbiano”, Kommissarz\u00e9vskaja dhe Mejerch\u00f2l’d jan\u00eb n\u00eb k\u00ebrkim t\u00eb formave t\u00eb reja p\u00ebr t’i dh\u00ebn\u00eb teatrit – pse jo edhe vet\u00eb jet\u00ebs – dhe kjo \u00ebsht\u00eb p\u00ebr k\u00ebt\u00eb arsye q\u00eb t\u00eb dy p\u00ebr disa vite (1902) braktis\u00ebn pozicionet e tyre tani t\u00eb konsoliduara brenda teatrove t\u00eb njohura, p\u00ebr t\u00eb nd\u00ebrmarr\u00eb shtigje t\u00eb reja eksperimentimi. Mejerch\u00f2l, trajnimi artistik i t\u00eb cilit u tundua n\u00eb falsifikimin e mrekulluesh\u00ebm t\u00eb Teatrit t\u00eb Artit, e gjeti veten duke menaxhuar, n\u00eb vitin 1905, p\u00ebrpjekjen e par\u00eb dhe t\u00eb kujdesshme t\u00eb Stanislavsky p\u00ebr t\u00eb krijuar nj\u00eb Teat\u00ebr-Studio; p\u00ebrvoja \u00ebsht\u00eb jet\u00ebshkurt\u00ebr, por l\u00eb nj\u00eb shenj\u00eb t\u00eb qart\u00eb dhe rigjeneruese ngulim simbolik. Regjisori i ri zbulon “mistiken e tij, vizionin e tij lirik, tejet shpirteror te profesionit te aktorit dhe teatrit”; ai \u00ebsht\u00eb i goditur nga nj\u00eb vizion asketik q\u00eb e sheh teatrin si nj\u00eb vetmitar dhe duke vepruar si nj\u00eb p\u00ebrkushtim total ndaj artit.<\/p>\n
N\u00eb vitin 1904, Kommissionarz\u00e9vskaja – pasi mori lejen nga teatri shtet\u00ebror Aleksandr\u00ecnskij – themelon Teatrin e saj t\u00eb Dram\u00ebs n\u00eb Petersburg, duke e shnd\u00ebrroi veten n\u00eb n\u00eb nj\u00eb sip\u00ebrmarr\u00ebs t\u00eb aft\u00eb dhe njoh\u00ebs t\u00eb mir\u00eb t\u00eb teksteve letrare, dhe t\u00eb shqet\u00ebsuar p\u00ebr eksperimentimin me format e reja t\u00eb aktrimit t\u00eb teatrit simbolist. Dy vjet m\u00eb von\u00eb ai vendosi ta quante esuberanti aktor-drejtorin dhe me pak fjal\u00eb, teatri i tij u b\u00eb nj\u00eb avanpost i eksperimentimit simbolist.<\/p>\n
\u00cbsht\u00eb pik\u00ebrisht prej gjitha k\u00ebtyre premisave q\u00eb lindi spektakli Balag\u00e0ncik. Reagimet e publikut ngjajn\u00eb me ato tipike t\u00eb teatrit dhe kinemas\u00eb s\u00eb par\u00eb t\u00eb Carmelo Bene: nj\u00eb p\u00ebrzierje e duartrokitjeve t\u00eb gjalla dhe mosmarr\u00ebveshjeve t\u00eb ashpra, duke demonstruar risit\u00eb e b\u00ebra n\u00eb gjuh\u00ebn artistike t\u00eb p\u00ebrdorur. Ka disa prirje themelore n\u00eb k\u00ebt\u00eb gjuh\u00eb. Para s\u00eb gjithash, lidhja farefisnore me Commedin\u00eb Italiane t\u00eb Artit, shum\u00eb e dukshme n\u00ebse marrim n\u00eb konsiderat\u00eb, n\u00eb p\u00ebrgjith\u00ebsi, trazir\u00ebn e maskave q\u00eb p\u00ebrmbytin sken\u00ebn, dhe n\u00eb ve\u00e7anti, maskat si Harleuine dhe Colombine por, gjithashtu, vet\u00eb Pierrot q\u00eb nuk \u00ebsht\u00eb asgj\u00eb tjet\u00ebr. ve\u00e7se jo derivimi francez i nj\u00eb personazhi aq t\u00eb eksportuar tradicionalisht italian n\u00eb koh\u00ebn e mbretit Diell. P\u00ebr Mejerch\u00f2l’d \u00ebsht\u00eb fillimi i nj\u00eb studimi t\u00eb gjat\u00eb mbi Commedia dell’Arte, tani p\u00ebr tani, m\u00eb i drejtuar, duke folur logjikisht, n\u00eb nj\u00eb hetim vizual i cili bazohet si n\u00eb kromatizmin piktural t\u00eb aktorit n\u00eb raport me skenografin\u00eb, ashtu edhe n\u00eb stilizimin gjestural.<\/p>\n
Nga ana tjet\u00ebr, marr\u00ebdh\u00ebnia q\u00eb ai krijon me simbolik\u00ebn, mbi veten si aktor, nuk \u00ebsht\u00eb me origjin\u00eb vizuale, por thell\u00ebsisht muzikore: “Mejerch\u00f2l’d – shkruan aktorja Verigina – tundi t\u00eb dy m\u00ebng\u00ebt dhe n\u00eb at\u00eb l\u00ebvizje klloun\u00ebsh ajo shprehu g\u00ebzimin e shpres\u00ebs q\u00eb papritmas u ndez […] Pierrot dukejsikur po d\u00ebgjonte nj\u00eb k\u00ebng\u00eb q\u00eb i vinte nga zemra. V\u00ebshtrimi i tij ishte i \u00e7uditsh\u00ebm – ai shikonte intensivisht brenda vetes s\u00eb tij”, dhe shton Gavrilovich:” muzika e brendshme q\u00eb Mejerch\u00f2l’d rik\u00ebrkoi n\u00eb teatrin e tij simbolist, rizbulimi i harmonis\u00eb midis vetvetes dhe bot\u00ebs lidhej me nj\u00eb koncept pozitiv, t\u00eb p\u00ebrpunuar n\u00eb ato vite n\u00eb Petersburg nga Elena Guro, poete dhe piktore. P\u00ebr Guro, universi \u00ebsht\u00eb nj\u00eb trup organik pulsues, n\u00eb t\u00eb cilin l\u00ebnda dhe shpirti, parajsa dhe toka nuk jan\u00eb entitete t\u00eb ndara, por dialogojn\u00eb me nj\u00ebri-tjetrin \u201dN\u00eb vazhd\u00ebn e k\u00ebtij v\u00ebzhgimi t\u00eb fundit, kuptohet ajo q\u00eb ndoshta \u00ebsht\u00eb distanca m\u00eb e madhe midis autorit t\u00eb shfaqjes dhe autorit t\u00eb tekstit, t\u00eb nj\u00ebjt\u00ebn distanc\u00eb midis dy reflektimeve t\u00eb ndryshme t\u00eb simbolizmit: ana pozitive dhe ana negative.<\/p>\n
P\u00ebr Blokun, Balag\u00e0ncik \u00ebsht\u00eb frut i nj\u00eb zhg\u00ebnjimi ekstrem, si nga aspekteti m\u00eb asketik ashtu edhe nga an\u00eb m\u00eb pozitive t\u00eb simbolizmit rus. Nd\u00ebr kritik\u00ebt q\u00eb konkurrojn\u00eb shfaqjen \u00ebsht\u00eb Belyj, nj\u00eb pasqyr\u00eb e misticizmit Blokian, nj\u00eb Argonaut besnik dhe nj\u00eb antropofizofon i ardhsh\u00ebm steinerian; t\u00eb dy e njohin shum\u00eb mir\u00eb nj\u00ebri-tjetrin, por miq\u00ebsia e tyre \u00ebsht\u00eb gjithnj\u00eb e m\u00eb konfliktuale. Ekziston nj\u00eb sken\u00eb shum\u00eb e r\u00ebnd\u00ebsishme n\u00eb faz\u00ebn fillestare t\u00eb tekstit dhe shfaqjes, e b\u00ebr\u00eb shk\u00eblqyesh\u00ebm n\u00eb teatralizimin e mejerchol\u2019diana, \u00ebsht\u00eb episodi i mistik\u00ebve, nj\u00eb parodi autentike e eksperienc\u00ebs autobiografike, jetuar nga poeti duke marr\u00eb pjes\u00eb n\u00eb klubin e Argonaut\u00ebve. Ka burra me hije t\u00eb kapur duke pritur p\u00ebr nj\u00eb shfaqje epifanike, ata besojn\u00eb se mish\u00ebrimi i Nuses s\u00eb P\u00ebrjetshme s\u00eb shpejti do t\u00eb zbulohet para syve t\u00eb tyre; por kur Zonja e Bukur do t\u00eb shfaqet m\u00eb n\u00eb fund, ajo mban rrobat joserioze t\u00eb Kolombin\u00ebs, t\u00eb marra menj\u00ebher\u00eb nga stuhia nga erotomania e Harlekuinit dhe nga psher\u00ebtima e Pierrot; mistik\u00ebt, nga ana e tyre, n\u00eb vend q\u00eb t\u00eb elektrizohen nga nj\u00eb vizion n\u00eb ekstaz\u00eb, kuptojn\u00eb, e shohin n\u00eb m\u00ebnyr\u00eb t\u00eb mrekullueshme at\u00eb t\u00eb Vdekjes dhe ikin t\u00eb frik\u00ebsuar.<\/p>\n
Skena \u00ebsht\u00eb groteske dhe ironike, nj\u00eb parodi sarkastike dhe e pam\u00ebshirshme e “doktrin\u00ebs” frym\u00ebzuar nga Solov’ev. N\u00eb kompleksitetin e saj, Balag\u00e0ncik sh\u00ebnon gjithashtu zhg\u00ebnjimin n\u00eb ngush\u00ebllimin e nj\u00eb jete t\u00eb p\u00ebrditshme “normale”. Dy episode t\u00eb vepr\u00ebs jan\u00eb emblematike n\u00eb k\u00ebt\u00eb kuptim. Nj\u00ebra \u00ebsht\u00eb n\u00eb imazhin e Harlequin q\u00eb ngjitet n\u00eb nj\u00eb shkall\u00eb t\u00eb vendosur n\u00eb fund t\u00eb sken\u00ebs dhe hedhit nga nj\u00eb dritare; dhe sidoqoft\u00eb dritarja nuk \u00ebsht\u00eb e v\u00ebrtet\u00eb por e pikturuar, k\u00ebshtu q\u00eb ajo vet\u00ebm dep\u00ebrton p\u00ebrmes nj\u00eb muri letre q\u00eb bie n\u00eb an\u00ebn tjet\u00ebr; k\u00ebshtu mbetet nj\u00eb vrim\u00eb n\u00eb skenografin\u00eb dhe trazira q\u00eb rrjedh nga gremisja e saj. Episodi tjet\u00ebr episodi final. T\u00eb gjitha maskat zhduken me shumic\u00eb dhe e nj\u00ebjta skenografi t\u00ebrhiqet nga lart me nj\u00eb mekaniz\u00ebm t\u00eb nj\u00ebkohsh\u00ebm dhe precipitues. N\u00eb sken\u00ebn e zbraz\u00ebt, vet\u00ebm Pierrot mbetet me vajtimin e tij t\u00eb pangush\u00eblluesh\u00ebm.<\/p>\n
Nga ky moment p\u00ebrpara n\u00eb jet\u00ebn e Blokut fillon bredhja midis mjediseve t\u00eb aktor\u00ebve ku ndizen dhe shuhen dashuri efemere p\u00ebr aktoret, midis avujve t\u00eb alkoolit t\u00eb lokaleve t\u00eb nat\u00ebs, mes rrug\u00ebve t\u00eb err\u00ebta t\u00eb lagjeve t\u00eb varf\u00ebra tejmbushur me vuajtje. N\u00eb poezin\u00eb e tij shfaqet nj\u00eb “bot\u00eb e tmerrshme”, n\u00eb t\u00eb cil\u00ebn “merr n\u00eb ekstrem mohimin, metafizik\u00ebn e t\u00eb qenurit n\u00eb t\u00eb cilin \u00e7do der\u00eb e tavern\u00ebs \u00ebsht\u00eb si dera e nj\u00eb varri dhe i nj\u00ebjti shk\u00eblqim i dritave n\u00eb rrug\u00eb ka p\u00ebrmasa djall\u00ebzore. Jeta \u00ebsht\u00eb delirante, ndjekje pa kuptim e shk\u00eblqimit grotesk q\u00eb val\u00ebvit syt\u00eb si krah\u00ebt e lakuriqit t\u00eb nat\u00ebs. Dhe nuk \u00ebsht\u00eb \u00e7udi q\u00eb realiteti m\u00eb konkret, t\u00eb jet\u00eb n\u00eb ato vargje \u201d Vdekja. Megjithat\u00eb, \u00ebsht\u00eb pik\u00ebrisht n\u00eb k\u00ebt\u00eb periudh\u00eb q\u00eb n\u00eb t\u00eb, b\u00ebhet m\u00eb e holl\u00eb “intuita e kataklizmave, nuhatja e historis\u00eb. \u00c7do tem\u00eb zgjerohet n\u00eb nj\u00eb sintez\u00eb t\u00eb epok\u00ebs, dhe idet\u00eb autobiografike nd\u00ebrthuren me l\u00ebvizjen e universit, me rrethanat e jet\u00ebs shoq\u00ebrore. \u00c7do eksperienc\u00eb, \u00e7do event i fundit \u00ebsht\u00eb nj\u00eb pretekst p\u00ebr nj\u00eb lloj simfonie kozmike”.<\/p>\n
N\u00eb at\u00eb procedim der\u00eb m\u00eb der\u00eb, si n\u00eb Orfici Canti t\u00eb Dino Campana, duke l\u00ebn\u00eb zemr\u00ebn e tij atje, ai duket se do t\u00eb nxitet vet\u00ebm n\u00eb kontakt me cigan\u00ebt, n\u00eb m\u00ebnyr\u00eb q\u00eb forma e tij kryesore poetike t\u00eb b\u00ebhet romanca Cigane, n\u00eb t\u00eb cil\u00ebn ai p\u00ebrmban flak\u00eb t\u00eb entuziazmit t\u00eb dehur dhe gervishtjen e shpirtit t\u00eb tij. “Jan\u00eb \u00e7aste pasagjer\u00ebsh t\u00eb ekstaz\u00ebs, dhe t\u00eb braktisjes t\u00eb ndjekura nga zgjime t\u00eb \u00e7uditshme pendimi dhe goditjet e m\u00ebrzitjes, t\u00eb cilat e b\u00ebjn\u00eb zakonin e ekzistenc\u00ebs edhe m\u00eb t\u00eb paduruesh\u00ebm.<\/p>\n
E megjithat\u00eb shpirti, gjithnj\u00eb i emocionuar nga d\u00ebshirat e pakufishme, i shqet\u00ebsuar p\u00ebr p\u00ebrvojat e pafundme, gjen nj\u00eb \u00ebmb\u00eblsi fatale n\u00eb ato momente harrese, d\u00ebshp\u00ebron humbjen si sh\u00eblbim si sh\u00eblbim nga hija e nj\u00eb jete t\u00eb shkret\u00eb, t\u00eb pap\u00ebrpunuar, t\u00eb padobishme”.<\/p>\n
N\u00eb k\u00ebt\u00eb gjendje shpirt\u00ebrore t\u00eb zez\u00eb vjen fillimi i Revolucionit dhe dit\u00ebve t\u00eb Tetorit, t\u00eb cilat Blok i mir\u00ebpret mjaft me g\u00ebzim; megjith\u00ebse vinte nga nj\u00eb familje me origjin\u00eb fisnike, ai ndjen neveri p\u00ebr t\u00eb “ngopurit” urren borgjez\u00ebt, t\u00eb k\u00ebnaqurit. Megjith\u00ebse ai e dinte se p\u00ebrmbysja do ta fshinte klas\u00ebn e tij, duke t\u00ebrhequr nj\u00eb gjurm\u00eb gjaku dhe g\u00ebrmadha pas tij, ai i pranoi k\u00ebto ngjarje me shpres\u00ebn se do t\u00eb shihte z\u00ebnk\u00ebn e borgjezis\u00eb, dometh\u00ebnien utilitare dhe hipokrizin\u00eb e kompromiseve t\u00eb fshira me ta. t\u00eb nj\u00eb Filistineizmi t\u00eb shfrenuar. Duke iu p\u00ebrmbajtur viteve t\u00eb fundit t\u00eb grupit t\u00eb “Scythians”, si dhe Belyj dhe Es\u00e8nin, ai e interpreton k\u00ebt\u00eb l\u00ebvizje si katarsis t\u00eb njer\u00ebzimit, i destinuar t\u00eb rinovonte rr\u00ebnj\u00ebt e qenies.<\/p>\n
N\u00eb Janar 1918, i animuar thell\u00eb nga kjo ndjenj\u00eb, n\u00eb vet\u00ebm tre dit\u00eb, ai shkroi Dvenadcat ‘me nj\u00eb frym\u00eb, “T\u00eb Dymb\u00ebdhjet\u00ebt”, duke hedhur shqet\u00ebsime t\u00eb jasht\u00ebzakonshme n\u00eb bot\u00ebn e shkrimtar\u00ebve e m\u00eb gjer\u00eb. Shum\u00eb prej atyre q\u00eb e kishin at\u00eb t\u00eb lavdish\u00ebm mbeten t\u00eb tronditur, t\u00eb hutuar, t\u00eb m\u00ebrzitur nga nj\u00eb gjuh\u00eb e pazakont\u00eb, n\u00eb t\u00eb cilat dalin fjalime rrug\u00ebsh, madje edhe parulla nga pankarta politike, n\u00eb t\u00eb cilat nd\u00ebrpritet pranimi i tij i revolucionit. Nga ana tjet\u00ebr, ortodoksia Marksiste, e nd\u00ebrgjegjshme p\u00ebr aderimin e tij t\u00eb s\u00eb kaluar\u00ebs n\u00eb mistik\u00eb, e v\u00ebzhgon at\u00eb me dyshim. E panevojshme t\u00eb thuhet, se \u00e7far\u00eb reagimi mund t\u00eb ket\u00eb pasur n\u00eb qarqet e aristokracis\u00eb dhe borgjezis\u00eb, “papritur” t\u00eb zhytur n\u00eb kaos total, si nj\u00eb tuf\u00eb leckash luftarake, t\u00eb cil\u00ebt deri para disa dekadash ishin akoma skllev\u00ebrit e tyre zyrtarisht.<\/p>\n
N\u00eb poezin\u00eb voltolano, e g\u00eblltitur n\u00eb vorbull\u00ebn e er\u00ebs s\u00eb akullt, e cila lodh frym\u00ebn n\u00eb sobat e b\u00ebra me tinguj dhe imazhe, t\u00eb gjitha temat e shtrenjta p\u00ebr Blokun: nga melankolia e pap\u00ebrmbajtshme, deri te tediumi patologjik; nga shkrepja e papritur e nj\u00eb mij\u00eb gjuh\u00ebve t\u00eb zjarrta, deri te g\u00ebdhendjet klorisotike dhe sarkastike t\u00eb nj\u00eb bote t\u00eb shkat\u00ebrruar, groteske, t\u00eb populluar nga forma dhe karikatura t\u00eb nj\u00eb dinjiteti t\u00eb humbur njer\u00ebzor, tashm\u00eb t\u00eb humbur p\u00ebr nj\u00eb koh\u00eb shum\u00eb t\u00eb gjat\u00eb dhe t\u00eb cilat revolucioni thjesht lejon ta nxjerr\u00eb n\u00eb pah, p\u00ebr ta b\u00ebr\u00eb t\u00eb dukshme ; nga trek\u00ebnd\u00ebshi i par\u00ebnd\u00ebsish\u00ebm i p\u00ebrzier n\u00eb eros dhe thanatos, deri n\u00eb konkretinitetin eterik t\u00eb paduksh\u00ebm. Dymb\u00ebdhjet\u00eb marshime t\u00eb pandalshme si rrjedha e pand\u00ebrprer\u00eb e fjal\u00ebve, duke trajtuar gjith\u00e7ka q\u00eb ata hasin, duke ndryshuar met\u00ebr dhe rit\u00ebm, alt!, Epanalypes, marsh p\u00ebrpara’, met\u00ebr klasik, tetrapodi iambic, krah i majt\u00eb dhe rit\u00ebm popullor; dhe n\u00eb fund duket se d\u00ebshmon nj\u00eb p\u00ebrmbledhje t\u00eb poezis\u00eb Blokiane, n\u00eb t\u00eb cil\u00ebn pamjet g\u00eblltiten n\u00eb vorbull\u00ebn e nj\u00eb muzikaliteti q\u00eb nuk mund t\u00eb \u00e7oj\u00eb n\u00eb asgj\u00eb tjet\u00ebr p\u00ebrve\u00e7 boshll\u00ebkut.<\/p>\n
N\u00eb lidhje me p\u00ebrfundimin e pun\u00ebs, p\u00ebr t\u00eb cil\u00ebn \u00ebsht\u00eb diskutuar shum\u00eb, duhet t\u00eb b\u00ebhet nj\u00eb v\u00ebzhgim i par\u00eb themelor. N\u00eb tekstin blokian t\u00eb periudh\u00ebs s\u00eb par\u00eb: fundi p\u00ebrs\u00ebrit parimin dhe ekziston nj\u00eb cirkulim i struktur\u00ebs, brenda s\u00eb cil\u00ebs energjia emocionale l\u00ebviz n\u00eb val\u00eb, e cila rritet dhe, n\u00eb tension maksimal, bie p\u00ebrs\u00ebri n\u00eb pik\u00ebn fillestare, n\u00eb m\u00ebnyr\u00eb q\u00eb gjith\u00e7ka t\u00eb mbyllet me parimin dhe pothuajse t\u00eb vazhdoj\u00eb p\u00ebrtej fundit, pafund\u00ebsisht. P\u00ebr Bllokun e periudh\u00ebs s\u00eb m\u00ebvonshme, megjithat\u00eb, \u00ebsht\u00eb karakteristike p\u00ebrmbushja n\u00eb pik\u00ebn e sip\u00ebrme, drejt s\u00eb cil\u00ebs duket se po varet e gjith\u00eb poema. Poema mbahet n\u00eb vargun e fundit, n\u00ebse jo n\u00eb t\u00eb v\u00ebrtet\u00eb n\u00eb vargun e fundit, ose m\u00eb sakt\u00eb mbi fjal\u00ebn e fundit, e cila b\u00ebhet vendi i tensionit maksimal.<\/p>\n
Kjo \u00ebsht\u00eb gjithashtu e v\u00ebrtet\u00eb, dhe mbi t\u00eb gjitha, n\u00eb Dvenadcat’, n\u00eb fjal\u00ebn p\u00ebrmbyll\u00ebse t\u00eb t\u00eb cilit, “Jezusi”, jo vet\u00ebm q\u00eb ka pik\u00ebn m\u00eb t\u00eb lart\u00eb t\u00eb poezis\u00eb: ekziston gjith\u00eb rrafshi i saj emocional, dhe p\u00ebr k\u00ebt\u00eb arsye vepra n\u00eb vetvete \u00ebsht\u00eb si ajo e b\u00ebr\u00eb nga variacione, l\u00ebkundje, shmangie nga tema e finales. Tema e p\u00ebrfundimit, n\u00eb t\u00eb “Dymb\u00ebdhjet\u00ebt”, \u00ebsht\u00eb ajo e Krishtit. Viktor Sklovsky vuri n\u00eb dukje se “p\u00ebrfundimi i papritur me Krishtin ndri\u00e7on p\u00ebrs\u00ebri t\u00ebr\u00eb vepr\u00ebn. Kuptoni numrin e “dymb\u00ebdhjet\u00eb”. Por puna mbetet e paqart\u00eb dhe e llogaritur mbi k\u00ebt\u00eb paqart\u00ebsi \u201d. Aty ku “paqart\u00ebsia” nuk do t\u00eb thot\u00eb nj\u00eb pranim ekuivok i revolucionit, por ajo “ironi”, e cila, p\u00ebr Sklovskijn, \u00ebsht\u00eb “procesi i perceptimit t\u00eb nj\u00ebkohsh\u00ebm t\u00eb dy dukurive diskordante, ose referenca e nj\u00ebkohshme e t\u00eb nj\u00ebjtit fenomen me dy rende semantike. ” N\u00eb k\u00ebt\u00eb kuptim “T\u00eb Dymb\u00ebdhjet\u00ebt” jan\u00eb nj\u00eb poezi “ironike”. Rendi i lart\u00eb semantik, n\u00eb poezin\u00eb e Blokut, ndizet n\u00eb fund dhe kompozicioni ndri\u00e7ohet nga reflektimi i saj. Duke p\u00ebrmbysur sensin e t\u00eb lexuarit, analiza mund t\u00eb filloj\u00eb nga pjesa p\u00ebrfundimtare, jo p\u00ebr t\u00eb deshifruar kuptimet e err\u00ebta, sepse t\u00eb Dymb\u00ebdhjet\u00ebt nuk \u00ebsht\u00eb nj\u00eb shif\u00ebr, por p\u00ebr t\u00eb propozuar ndihmat e nevojshme ekstrakteksuale p\u00ebr leximin e lir\u00eb t\u00eb tekstit.<\/p>\n
Paradoksale por e v\u00ebrtet\u00eb. Rusia Sovjetike, e cila menj\u00ebher\u00eb pas k\u00ebsaj do t\u00eb nxjerr\u00eb nj\u00eb ateiz\u00ebm hekuri, shpesh gjen imazhe dhe mite t\u00eb tradit\u00ebs biblike dhe liturgjike midis k\u00ebng\u00ebtar\u00ebve t\u00eb saj t\u00eb par\u00eb.
\nT\u00eb dyja kultura para-revolucionare Ruse ishin t\u00eb mb\u00ebshtjell\u00eb me idealitete t\u00eb krishtere se rezervuari i formave simbolike p\u00ebr t\u00eb cilat ata poet\u00eb t\u00ebrhoq\u00ebn nuk mund t\u00eb ishte tjet\u00ebr p\u00ebrve\u00e7 t\u00eb nj\u00eb besimi t\u00eb till\u00eb.
\nDhe pas Bllokut ka let\u00ebrk\u00ebmbime t\u00eb k\u00ebtij lloji edhe n\u00eb Belyj dhe Es\u00e8nin; jo vet\u00ebm kaq, por:<\/p>\n
\u00cbsht\u00eb e njohur si imazhet e Majakovsky q\u00eb p\u00ebrputhen me figura dhe simbole t\u00eb Testamentit t\u00eb Vjet\u00ebr dhe t\u00eb Ri, me nj\u00eb kuptim laik, me t\u00eb v\u00ebrtet\u00eb profanor dhe blasfemues, i cili megjithat\u00eb nuk mund t’i b\u00ebj\u00eb ata t\u00eb humbin t\u00eb gjith\u00eb pesh\u00ebn e origjin\u00ebs s\u00eb shenjt\u00eb.<\/p>\n
Me t\u00eb v\u00ebrtet\u00eb kurioz! Dhe pse nuk mund ta b\u00ebj\u00eb? A nuk mund t\u00eb jet\u00eb k\u00ebshtu, megjith\u00ebse sigurisht q\u00eb nuk arrijn\u00eb t\u00eb njohin fen\u00eb e krishter\u00eb ortodokse, nj\u00eb nevoj\u00eb e brendshme dhe e pashmangshme p\u00ebr fen\u00eb mbaron thell\u00eb n\u00eb vet\u00ebdije? Padyshim jo teologjike, por njer\u00ebzore?<\/p>\n
Me revolucionin, vitet e munduara t\u00eb kaluara duke parashikuar dhe pritur ngjarje katastrofike dhe pastrimi, duket se m\u00eb n\u00eb fund gjet\u00ebn konfirmimin e tyre.<\/p>\n
Megjithat\u00eb Revolucioni provokon nj\u00eb keqardhje nostalgjike tek Blok; kur Majakovsky e takon at\u00eb p\u00ebrpara Pallatit t\u00eb Dimrit, duke e gjetur t\u00eb ngrohjej n\u00eb nj\u00eb zjarr, ai e pyet se \u00e7far\u00eb mendoni p\u00ebr ato ngjarje t\u00eb jasht\u00ebzakonshme, Blok p\u00ebrgjigjet “Epo”, por shton, me shum\u00eb trishtim n\u00eb syt\u00eb e tij, se biblioteka e tij n\u00eb S\u00e0chmatovo, vendi ku ai jetoi rinin\u00eb dhe koh\u00ebrat m\u00eb t\u00eb mira t\u00eb tij, u shkat\u00ebrrua dhe u vu zjarr.<\/p>\n
Dvenadcat ‘\u00ebsht\u00eb flaka e fundit e v\u00ebrtet\u00eb e poezis\u00eb blokiane; n\u00eb ato pak shkrime q\u00eb e pasojn\u00eb at\u00eb, forca e tij bie n\u00eb m\u00ebnyr\u00eb t\u00eb pjerr\u00ebt n\u00eb nj\u00eb mpirje gjithnj\u00eb e m\u00eb t\u00eb shurdh\u00ebr, drita q\u00eb kishte n\u00eb syt\u00eb e tij venitet shpejt dhe zbehet dhe shikimi i tij bie n\u00eb err\u00ebsir\u00eb. Ai jeton muajt e tij t\u00eb fundit t\u00eb jet\u00ebs n\u00eb nj\u00eb gjendje larvore; kur zemra e tij pushoi s\u00eb rrahuri m\u00eb 7 gusht 1921, ai ka koh\u00eb q\u00eb vdiq brenda vetes.<\/p>\n
P\u00ebrgatiti dhe p\u00ebrktheu: Faslli Haliti<\/b><\/p><\/blockquote>\n
Janar-shkurt 2020<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"
N\u00ebn k\u00ebt\u00eb titull bashkohen qoft\u00eb versioni televiziv i vitit 1977, ashtu edhe versioni teatral q\u00eb u nis n\u00eb turne n\u00eb 1980 n\u00eb teatrot lirik\u00eb t\u00eb operave (nga t\u00eb cil\u00ebt \u00ebsht\u00eb marr\u00eb regjistrimi p\u00ebr nj\u00eb prodhim diskografik t\u00eb t\u00eb nj\u00ebjtit vit) Tashm\u00eb \u00ebsht\u00eb e qart\u00eb se nga titulli i Spektakli – i koncertit t\u00eb m\u00ebparsh\u00ebm t\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":51338,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35,8],"tags":[],"class_list":["post-51337","post","type-post","status-publish","format-standard","has-post-thumbnail","category-kulture","category-letersi"],"yoast_head":"\n
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